6. General Conclusion The rhythmical phrases prefer not to be evenly balanced, or similar in sound, or enslaved to forced repetitive sequence, no, rather to be rounded off, distinct, and freely formed. Dionysius of Halicarnassus On Literary Composition 22 Throughout the history of literature, Homer’s Iliad and Odyssey have always occupied a special position. The poet of the Iliad and the Odyssey,… Read more
Appendix In the Appendix, I present the result of my approach, applied to lines 1–100 of the first book of the Iliad and the first book of the Odyssey. As a sample, the analysis of the lines is representative for the Homeric epic as a whole, as is the statistical data derived from it. I have tried to visualise the patchwork-like pattern of phonological phrases through a… Read more
Bibliography Allen, T. W. 1917. Homeri Opera iii2. Oxford. ———. 1919. Homeri Opera iv2. Oxford. ———. 1931. Homeri Ilias. Oxford. Allen, W. S. 1973. Accent and Rhythm: Prosodic Features of Latin and Greek. Cambridge. ———. 1987. Vox Graeca3. Cambridge. Allerton, D. J. 1982. Valency and the English Verb. London. Read more
Foreword Gregory Nagy and David F. Elmer Women Weaving the World: Text and Textile in the Kalevala and Beyond, by Hanna Eilittä Psychas, was completed in December 2017. It originated as a thesis presented in partial fulfillment of the requirements for the degree of Bachelor of Arts at Harvard University. The author of Part I of the bipartite Foreword to the online edition of Women Weaving the World,… Read more
Introduction This project attempts to apply a poetics of weaving to literary analysis and the theatrical devising process. Taking my inheritance of weaving techniques, of the Finnish language, of family stories, and of the many cultures and experiences that have shaped who I am, I weave a story that is part of many traditions: the Kalevala stories and mythology of my maternal heritage, the rug weaving I… Read more
Chapter One The place of craft within the world of art is a dynamic discussion, a long-running debate that I cannot address in full. The very contentiousness of this debate, however, is testament to the complex nature of craft and how it subverts conventional categorization. Crafts spans a vast field of workmanship, techniques, materials, and traditions, and have been perceived by scholars to contribute to, to defy,… Read more
Chapter Two The Finnish tradition, specifically, abounds with intersections in text, textile, and the feminine realm. Textile crafts are integral to Finnish culture, both traditionally and in the design-oriented Finland of today. Historically, all “women in all the northern countries knew how to weave cloth,” on looms “of that old-fashioned model, in which the warp is in an upright position.” [1] This… Read more
Chapter Three Weaving Sisters: Feminism and the Subversive Stitch Within a patriarchal hierarchy of space, form, and voice, craft—and thus women’s art—is equated with amateurism. As curator and theorist Glenn Adamson critiques, there is a “lopsided scheme in which craft, often coded as feminine … is always seen as inferior to the hegemonic category of art.” This “disregard for [crafts] has been convincingly critiqued as one… Read more
Appendices Appendix A: Glossary of Weaving Terminology [1] Batten: a mechanism for tightening the weave by pushing the newest line of weft into the fell of the cloth. This can be incorporated into the mechanics of the loom as a moving part containing the reed through which the warp is threaded, or may be a separate, comb like tool. Also known… Read more
Bibliography Adamson, Glenn. Thinking through Craft. New York: Berg, 2007. Ashby, Charlotte. “Nation Building and Design: Finnish Textiles and the Work of the Friends of Finnish Handicrafts.” Journal of Design History 23, no. 4 (2010): 351–365. http://www.jstor.org/stable/40958919. Bryan-Wilson, Julia. Fray: Art and Textile Politics. Chicago: University of Chicago Press, 2017. Cixous, Hélène. “The Laugh of the… Read more
